Drifter was a direct response to the architecture of the building, primarily the running bond pattern found in the brickwork. By extending the standard pattern of the running bond onto the mural it was then transitioned to become ornamental. Historically this kind of ornamentation and embellishment found in brickwork would imply and authenticate the status of a building and consequently the persons, events, or issues that occur within. Drifter dislocated and relocated the brickwork patterns sampled from previous eras into the contemporary, and seemingly ordinary, architecture of the Crying Room’s façade.
The Drifter print was pulled directly from a site-responsive mural project in the Downtown East Side, Vancouver. The pattern carved into the mural continued a pre-existing pattern found on the architectural brickwork of the site. This pattern was then shifted, brick by brick, to transition into highly ornamental patterns—often reserved for select historical buildings The resulting 9 prints lifted from the relief mural frame segments of the selected ornamental areas and re-present a multitude of overlapping production methods—brick and mortar, rubbing, tracing, drawing, rendering, carving, painting and printing.
